IMPULSE is an online contemporary arts magazine based in New York City. In October of 2025, IMPULSE hosted a disco party at Ciao Ciao Disco organized by Events Director Meinzer in celebration of the publication’s ongoing arts coverage, readership, and all the artists and spaces that the magazine supports. I – Creative Director Victoria Reshetnikov – designed the event’s promotional material, including the poster, print materials, and a motion graphic for the disco club’s entryway. The design centers hand-drawn lettering paired with Elza Text and Scotch Deck.

Paper Trails: Publishing Methods as Connective Tissue was a featured exhibition and event from artist Loizos Olympios at Tapper during the Limassol Art Walks in October 2023. The exhibit explored publishing as a medium, part of the city-wide, multi-venue arts event featuring artist-run spaces and performances.

Particle is both a studio for video and photo, and a creative / marketing shop with locations in Portland and Seattle. Their website is both used for renting out the studio spaces (using a logo set in Volksans) and as a portfolio website for their creative services, using Fluro for the logo.

Poster for the concert at Paral·lel 62 by the Catalan band of Anna Andreu, using Instrument Serif Italic over a picture taken by Sílvia Poch.

Fundacja Hospicyjna (“Hospice Foundation”), Centrum Opieki Wytchnieniowej (“Respite Care Centre”) and Opieka w Demencji (“Dementia care”) organized a first debate in a series named “Dementia Care. The Environment Matters”. The aim of the meetings is to draw special attention to the issue of dementia. In addition to open discussion, special visual spaces and educational materials were also prepared to present the various everyday challenges faced by people with different stages of this condition.

In addition to creating an event with lectures opening discussions on dementia, the organizers also undertook to showcase a range of symptoms resulting from progressive brain damage caused by various diseases. The main presentation demonstrated how visual perception changes in people with dementia, including how they perceive everyday elements such as black objects on the floor or reflections in a mirror. Such installations were displayed during the event at the Respite Care Center and in the largest shopping malls in the Tricity area of Gdańsk, Gdynia, and Sopot – Forum and Riviera. Dementia can affect virtually anyone, directly or indirectly, so this was an important aspect to highlight in the project's visual communication.

During the design process, attention was paid to the elements prepared by the organizers, introducing participants to the experiences of people with dementia. Therefore, the visual key focuses on the phases of the visual field, which changes from vision similar to that seen through a diving mask to that seen through a telescope. This presentation of the problem, reinforced by large typography, was intended to intrigue people who might see these materials in public spaces, for example, as posters on advertising poles or as animations on public transport screens.

Gaya in use for the visual identity and website of the artist agent Audrey Demarre.

The identity is based on a unique typeface, conceived as a link between different artistic worlds. Design by Maison Solide with Lisa Manus. Code by Élie Quintard.

The graphics investigate what creativity in a post-AI world looks like, by going beyond the aesthetic of prompted images. Inspiration instead comes from behind the scenes, including AI datasets, labelling systems, computer vision and semantic segmentations. It abstractly compares human and computer vision, proposing a play of blurred student portraits intersecting with layers of information. Another layer of the campaign lies in its making. The graphics were created through hand movements using the P5 (Processing) Hand Pose Model.

A key role is played by the highly recognisable typeface Tiny, used in different weights and as a core element of the campaign. Its outlined use in white contrasts with the strong and saturated colours of the images.

Studio Drez's portfolio website was designed by M.Giesser and developed by Sam Morgan, using the fonts Melange Grotesk Regular and SemiBold.

On the website, Studio Drez is described as the operational backbone of street artist Drez:

Drez is a Melbourne-based multidisciplinary artist whose bold practice spans painting, sculpture, public art, and immersive light installations.

Studio Drez is the operational backbone of Drez, managing project logistics, coordinating artists, and handling the full spectrum of administrative work that keeps creative projects moving. We specialise in overseeing public art projects, ensuring that every stage, from concept to completion, is executed with care and precision.

Espacio La Nube is an ephemeral architecture studio based in Madrid, founded in 2016 by Hugo Cifre and Miguel Ángel Maure. Design studio An Audience of One uses Waldenburg Medium for the branding. From the case study:

Nube, an architecture firm that builds experiences with air. Inspired by the nature of a cloud, Nube expands its brand with a new system rooted in lightness, emotion and transformation, echoing the essence of ephemeral architecture.

Ambar Lucid’s new EP is supported by a clear and cohesive communication strategy that extends beyond the music itself. The release is accompanied by a set of physical and visual products – vinyl, posters, and apparel – designed to strengthen the album’s identity and visibility. The typeface Rosalie, by My-Lan Thuong and available at Sharp Type, is used on all the supports. For the singer’s name, the capital I was replaced by a lowercase i and a star was used for the dot. The typeface has a blurry and shinning effect for the song titles on the videos.

The vinyl record design is composed of four panels; with the front cover showing the main photo artwork that’s also used on the T-shirt. The back cover has lettering with the title of the EP, El Jardín de Lágrimas, and finally the inside contains the lyrics and a photo of the artist as an angel.

Together, these items create a unified promotional ecosystem: digital platforms introduce the music, while physical products reinforce the branding and extend the EP’s presence into the fan community. The visual identity of El Jardín de Lágrimas is not officially credited publicly, at least in the usual metadata and merch sources.

[More info on Discogs]

The poster for the release party additionally uses what appears to be a blurred version of Arial.

Demon ruchu (“The Motion Demon”, 1919) by Stefan Grabiński is a classic work of Polish horror in which the railway becomes a space filled with metaphysical mysteries. In this collection of stories, trains, stations, and tunnels form a dark universe where the inexplicable constantly breaks through everyday order. The characters, haunted by premonitions and visions, teeter on the brink of madness, and the very act of travel takes on an almost mystical dimension.

The new edition by Dwie siostry was designed by Jacek Ambrożewski, using Tor grotesk for cover, titles, drop caps, and emphasis; and BC Figural for text. It is enriched with evocative illustrations by Rita Kaczmarska and includes additional stories planned for the never-published third edition. The volume appears as the fifth installment of the “Świeżym Okiem” (“Fresh Eye”) series, offering a refreshed, visually striking version of this classic of the uncanny.

336 pages, 14.5 × 21.5 cm

The exhibition Dear Future presents ten artistic positions by young graduates of Burg Giebichenstein University of Art and Design Halle. The joint presentation offers a critical perspective on the present and a vision of the future. Marlene Bonamy, Lynn Gerstmair, Leon Meschede, Jonas Mosbacher, Hanbyeol Mun, Todor Joe Musev, Keren Rothenberg, Anna Taradina, Ayaha Tokusa, and JiongJi Wang provide insight into their individual approaches to analyzing the present and future and translating them into artistic formats.

Dear Future was curated by Elisabeth Würzl.

The Centre for Preventive Care is a speculative design project exploring the future of healthcare. In November 2022, the Centre for Preventive Care, set in the year 2052, opened its doors for a week inside the main entrance of Stockholm’s Södersjukhuset hospital.

During this event, visitors were invited to experience a healthcare visit in the future and to contemplate the pros and cons of prediction and prevention.

The project was then turned into a website (in (Swedish and English), serving as an archive of the event as well as a plateform to continue the conversation online. This project was commissioned and financed by Vinova, the Swedish agency for innovation.

More info on vinnova.se (in Swedish).

Jappan is a bilingual food guide app that explores the full range of Japanese cuisine—from street food to fine dining—across cities in Japan and Switzerland. The app’s design draws from shared principles of Swiss and Japanese aesthetics: clarity, reduction, and precision.

Typography plays a key role in balancing cultures. The interface pairs the sans-serif Futter Grotesk by Upset (customised for this project) with Noto Sans for Japanese. Both share a similar weight and rhythm, creating a seamless reading experience across scripts. The absence of icons and subtle UI gestures—like blurred text that sharpens on tap—support an understated, tactile user experience.

The app design and concept were made by Seto Studio, and the development by Milk Interactive.

Compel is a short-form horror television series set in Prince Edward Island, Canada. A distinct and compelling brand was developed to support and guide the pitch of the show’s proof of concept, narrative, and creative direction. The visual identity draws from biblical history, typography, and iconography, reinterpreted through a modern lens to reflect the show’s themes of faith, fear, and psychological unrest.

The identity system establishes a visual tension between the sacred and the contemporary, combining austere typography, ritualistic symbols, and stark compositions. Deliverables included a show bible, title graphics, and promotional materials designed to communicate the tone and potential of the series across multiple platforms, effectively establishing the visual foundation for Compel within its speculative world.

The website of Australian publisher Arc Woman uses Kindred Youth as its main headline typeface. All other information is set in TA Modern Times in both Normal and Rounded styles, and – in some headline sections – the older Outline weight as well. The font appears in the table of contents and key text sections, playing both a functional and aesthetic role.

The font appears in the table of contents and key text areas, serving both functional and aesthetic purposes. With its unique shapes and soft details, TA Modern Times enriches the publication’s visual atmosphere while improving legibility and harmony. It is an excellent choice not only for branding and web use, but also for editorial and book design.

From the Info page of Ebinger Vintage Art Poster:

Ebinger Vintage Art Poster offers a curated selection of original posters reflecting culture and art from the past 70 years. Unless otherwise noted, our posters are in impeccable condition and have been produced using high-quality silkscreen printing. This technique ensures exceptional quality, brilliant colors, and impressive longevity.

The catalog website and e-commerce experience was developed and designed by Tremolo. The fonts in use are from the Semi Condensed range of Sofia Sans.

Gallery (Recordings) is a record label specialising in management, events and apparel in electronic music. Born in Marrickville, Sydney and driven by a community ethos, Gallery celebrates art and everyone that brings it to life. Gallery is a label that has no sonic boundaries, driven by the emotive response the music evokes. Studio Thomas Hatton was engaged by Gallery to create a new visual identity and system for the record label. We have an ongoing partnership and collaboration with Gallery, involving creative direction and the design of all of the brand’s visual communications, including event artworks, release artworks, promotional material and much more.

The brand identity is inspired by an audience’s expression and movements to create different feelings and compositions on the dancefloor and a venue as a whole. Taking inspiration from the ever-changing motion of club spaces, utilising graphic elements that shift and contort, those with the freedom to express themselves and move around as they please. The result is a dynamic and flexible system–resembling the nature of the dance floors that Gallery and its audience hold so dear. Gallery houses the ‘art’–people, music, content, design, emotions and more. The graphics and shapes used are purposefully non-conventional and glitch-like, to express and create a curious and abstract feeling. The design elements are informed by electronic equipment used to produce and play the kinds of music the label embodies, such as modular synths, controllers and drum machines. These inspirations are referenced and expressed in the form of grid systems, shapes and graphic devices.

“Theatrical – discover through music” was the title of the second edition of the THEATRICAL format, created by se fèmm (an initiative born in Como to make young people discover new local realities and participate in the city's life) in collaboration with the Teatro Sociale di Como. The event made available to Como artists and realities some of the normally closed-off rooms of the theater, offering guided activities based on different musical genres.

The event poster unfolds within a dark space, representative of the dim light inside the theater, in the center of which is the 3D model of a human ear in magenta and cyan tones, representative of the main sense that will guide the experience of the evening.
The main font is Ogg, here modified by increasing the height of the individual glyphs, which gives the event's identity a sense of authority and mystery. The secondary font is Helvetica Neue, used mainly for practical information.

Artworks in poster format for promoting Lady Gaga’s upcoming Mayhem Ball tour 2025, posted on her Instagram. The script is Laura Worthington’s Origins. The specific style of GT America in use is the Expanded Black. A blur effect was added to all the text.